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Decorative  Interior 
Suggestions 


Benjamin  Moore  & Co. 


NEW  YORK  CHICAGO 


CLEVELAND  TORONTO 


Digitized  by  the  Internet  Archive 

A VERY  LlRjy r"/ 

in  2017  with  funding  from 
Columbia  University  Libraries 


https://archive.org/details/homedecorativeinOObenj 


Progress  of 

Artistic  Interior  Development 


Most  important  to  the  harmonv  and  happiness,  and  even  to  the  health  of  the  home,  is  color. 
And  vet  color,  as  it  relates  to  these,  is  all  too  little  understood. 

I he  possible  influence  of  a color  scheme  in  making  a house  more  “livable”  is  only  beginning  to 
he  widely  appreciated,  while  the  actual  effect  of  color  beauty  and  tone  harmony  in  the  making  of 
a “homey”  home  is  never  so  well  realized  as  when,  perhaps,  some  ill-chosen  interior  decoration 
gives  way  to  a well-selected  and  successfully  carried  out  plan  of  design. 

Among  the  first,  if  not  the  first  in  this  country  to  realize  the  commercial  importance  of  this 
subject,  were  the  publishers  of  this  book,  f or  practically  a generation  they  have  been  in  the  fore- 
front of  the  movement  to  make  the  home  beautiful,  simply,  practically  and  economically  possible. 

Behind  all  the  unsparing  effort  put  forth  by  Benjamin  Moore  A'  Company  during  their  thirty 
years  of  business,  they  have  had  one  supreme  guiding  purpose,  namely:  at  all  times  to  produce 
interior  decorating  colors  that  should  more  nearly  fulfill  the  requirements  of  beauty,  sanitation  and 
service  than  ant'  of  those  already  on  the  market. 

And  they  genuinely  believe  they  have  well  succeeded. 


Benjamin  Moore  & Co. 


Page  Three 


Color  Harmony  and  Home  Comfort 

To  decorate  a house  properly'  requires  serious  thought  and  some  knowledge  of  color  and  color 
harmony. 

1 he  color  treatment  of  a house  interior  must  begin  with  the  walls.  1 hey  form  the  atmos- 
phere, as  it  were,  which  makes  a room  pleasant  or  otherwise.  Neither  floor  coverings,  draperies 
nor  furniture  can  minimize  the  influence  of  the  walls  that  shut  out  the  world  and  enclose  the  home. 

Your  Home  Is  Yourself 

As  each  home  must  express  the  individuality  of  the  home-maker,  so  the  wall-colors  must 
always  follow  personal  preference.  In  a very  real  way  your  home  is  yourself. 

hew  of  us  realize  how  color  affects  one.  People  suffer  from  living  against  unsympathetic 
backgrounds,  so  to  speak.  1 hey  are  nerve-worn  by  jarring  colors,  yet  do  not  know  what  is  the 
matter  with  them.  Select,  therefore,  only  such  colors  as  are  pleasing  to  you  and  be  sure  you  get 
them  in  those  soft  tones  that  are  so  essential  to  the  restful  enjoyment  of  a room.  1 his  softness  of 
tone  can  always  be  assured  in  the  velvety  finish  of  certain  readily  procured  and  easily'  applied  paints 
and  kalsomines. 

Choose  Your  Colors  Carefully 

As  a rule,  dark  and  gloomy  colors  depress  one,  while  bright,  sunshiny  tones  bring  cheerfulness. 

Colors  should  always  be  chosen  with  reference  to  the  quantity'  and  quality  of  light  which  enters 
the  room.  When  going  into  a new  house,  where  the  walls  are  not  yret  decorated,  it  is  often  difficult 
to  get  a correct  impression  of  howr  light  or  how  dark  the  walls  will  be  when  treated  with  design  and 
color. 

If  a room  is  dark,  sunshiny  j'ellows  or  warm  rose  tints  will  make  it  brightest  and  most  cheerful. 

Yellows,  reds  or  golden  browns  are  the  rule  for  a north  room  as  it  has  but  little  sunshine. 


Page  Four 


Benjamin  Moore  & Co 


A room  with  a southern  exposure  requires  cool,  light  colors — blues,  greens  and  grays  as  it  receives 
a Hood  of  sunlight. 

Olive  green  is  best  suited  to  a northern  exposure.  As  this  color  is  likely  to  take  on  a brownish 
tone  at  night,  it  should  be  considered  by  both  daylight  and  artificial  light. 

Rooms  that  face  east  and  west  will  take  practically  any  color. 

Color  Makes  for  Contentment 

If  one  is  to  live  in  the  same  house  all  the  year  round,  on’e  must  not  choose  colorings  of  so  much 
warmth  that  they  will  prove  unpleasant  during  the  hot  months.  While  a brilliant  red  in  the  living- 
room  is  certainly  cheerful  and  attractive  on  winter  evenings  when  everything  is  lighted  up,  by  day- 
light it  seems  to  contract  the  size  of  the  room.  And  it  is  most  assertive  when  the  weather  is  warm. 

Red  walls  should  never  be  used  with  mahogany  furniture  as  the  walls  kill  the  color  of  the 
mahogany. 

Wine  color,  however,  is  a most  satisfactory  color  to  live  with  as  it  has  none  of  the  assertive 
qualities  of  a really  bright  red.  Probably  buff  or  tan  with  white  woodwork  makes  the  ideal  wall 
tint  for  a living-room. 

It  is  well  to  remember  that  moldings  and  plate  rails  break  up  the  wall  spaces  and  are  valuable 
factors  m wall  treatment.  1 he  ceiling  in  all  cases  must  be  lighter  in  tone  than  the  walls. 

Color  has  also  much  to  do  with  the  apparent  size  of  the  room.  Generally  speaking,  red  and  the 
darker  tones  cause  the  walls  seemingly  to  contract,  whereas  light  shades  lend  breadth  and  height. 

All  these  are  scientific  facts  and  have  been  abundantly  proved  by  scientific  methods. 

How  to  Make  Rooms  Larger 

In  a room  where  the  ceiling  is  much  too  high,  the  wall  decoration  can  be  divided  into  three 
sections.  I he  ceiling  tone  can  run  down  one  or  two  feet,  level  with  the  top  of  the  doors  and 


Benjamin  Moore  13  Co. 


Page  Five 


windows.  Its  termination  should  always  carry  out  some  architectural  line  already  in  the  room. 
Another  deeper  tone  below  this  could  cover  the  wall  to  within  seven  feet  of  the  floor,  and  a wood 
paneling  would  then  make  a suitable  base.  Unless  the  walls  are  over  eleven  feet  high  which  is 
seldom  the  case — it  would  not  be  necessary  to  bring  the  ceiling  paper  down. 

If  a ceiling  is  so  low  as  to  be  depressing,  use  a white  ceiling  and  a very  light-toned  wall. 

Never  make  the  mistake  of  carrying  the  design  of  the  side  walls  up  to  the  ceiling.  It  has 
the  effect  of  bringing  the  ceiling  down  almost  on  one’s  head — and  this  is  most  burdensome  and 
unrestful. 

In  rooms  where  something  other  than  plain  walls  are  desired,  a stenciled  design  in  contrasting 
color  or  shade  may  be  used.  1 his  is  often  suitable  in  the  hall  as  a border  below  the  molding,  and 
in  the  child’s  bed-room  as  a dado  or  |ust  below  the  molding.  1 he  bolder  stenciled  designs  are 
often  used  as  dados  in  dining-rooms. 


The  Keynote  of  the  Plan 

To  secure  color  harmony  throughout  the  house,  the  hall  must  be  considered  first,  as  it  is  the 
keynote  of  the  whole  color  scheme. 

In  the  first  place,  let  the  hall  look  inviting.  If  it  is  narrow  and  poorly  lighted,  yellow  is  a 
good  color  to  choose  as  it  will  introduce  an  atmosphere  of  sunshine.  Side  walls  of  Roman  yellow  or 
huff',  above  a dado  ol  russet  or  tan,  would  harmonize  with  a dining-room  of  brown  and  copper,  and 
a living-room  of  buff,  warm  gray  or  green. 

An  eff  ective  color  scheme  for  a square  hall  is  one  of  ivory  hat  ing  a dado  of  warm,  permanent 

red. 

If  the  walls  of  a hall  are  very  high,  they  must  be  broken  by  molding  and  a contrasting  dado  of 
darker  color.  1 his  should  be  in  proportion  to  the  height  of  the  wall  on  the  staircase.  If  a dado 
is  used  here,  let  it  end  where  it  meets  the  stairs.  Never  follow  the  slant  of  the  stairs. 


Page  Six 


Benjamin  Moore  y Co. 


Many  Rooms  But  One  Home 

The  library  must  be  restful.  No  color  must  be  chosen  that  tends  to  distract  the  eye  or 
thought.  Any  of  the  darker  shades  of  green,  russet,  tan  or  wine  color  would  be  excellent  here. 
Russet  walls  with  cream  ceiling,  or  buff  walls  with  a russet  dado  and  cream  ceiling  would  prove 
delightful.  When  using  several  tones,  it  is  best  to  make  them  the  varying  shades  of  one  color. 

For  the  living-room,  where  we  like  to  have  our  favorite  pictures,  the  softest  colors  such  as 
buff',  tan  or  warm  gray  would  be  the  most  satisfactory.  A darker  base  may  be  used  here,  with  the 
upper  walls  light. 

The  dining-room,  as  elsewhere  suggested,  may  have  darker-toned  walls  if  it  is  a sunny  room. 
Wme  color,  russet,  olive,  elm  green,  or  tan  would  be  excellent;  and  not  infrequently  a very  delight- 
ful dining-room  with  southern  exposure  has  been  done  in  Delft  blue  on  the  walls  with  pale  blue 
ceiling,  a paneling  and  plate  rail  of  mahogany  or  walnut  adding  a rich  contrast. 

Beauty  Should  Be  Permanent 

For  the  bed-room,  colors  should  be  chosen  for  their  soft  and  restful  tones.  Remember  your 
furniture  and  floor  coverings,  and  select  the  colors  that  harmonize  best  with  them;  and  try  to 
harmonize  all  of  these  with  yourself  . 

tor  the  bath-room,  nothing  can  be  more  in  keeping  with  its  purpose  than  a scheme  of  pure, 
cleanly,  sanitary  white  carried  out  in  Sam-Flat. 

A finish  coat  of  enamel  (“Mooramel”)  will  add  to  the  depth  and  luster  of  the  undercoat,  and 
make  it  washable  practically  without  limit. 

tor  the  kitchen  use  cream,  buff,  sky  blue,  French  gray  or  apple  green. 

tor  every  room  in  the  house,  for  every  purpose  of  successful  home  making,  a practically  infinite 
range  of  harmonizing  tints  and  shades  of  remarkably  permanent  depth  and  richness  may  be  had 
by  the  use  of  Sam-Flat  or  Muresco. 


Benjamin  Moore  Co. 


Page  Seven 


Sani-Flat,  the  Right  Paint  for  Right  Results 

I hose  who  know  paints  and  their  qualities  concede  that  Sani-Flat  is  one  of  the  most  remarkable 
products  of  its  nature  that  has  ever  been  produced.  It  commends  itself  to  you  and  to  me  for  use 
in  our  homes,  first  of  all  because  of  its  soft,  velvetv  tones  which  go  so  far  toward  insuring  the  beauty 
and  restfulness  of  a room. 

Sam-Hat,  as  its  name  indicates,  is  an  absolutely  sanitary,  soft,  flat  oil  paint.  It  has  depth 
of  tone  and  luster  without  shine.  It  is  non-changeable  as  to  color — white  Sam-Flat  never  turns 
yellow. 

And  it  is  absolutely  non-poisonous,  containing  no  lead.  This  last  quality  should  put  Sam-Flat 
before  all  other  oil  paints  for  any  kind  of  interior  use — especially  for  the  home.  I he  serious  effects 
of  poisoning  which  have  resulted  from  the  use  of  paints  containing  lead  make  the  avoidance  of  this 
element  almost  imperative. 


What  Makes  Paint  Last 

Sam-Flat  has,  for  its  base,  a special  brand  of  imported  zinc  sulphide,  commercially  known  as 
lithopone,  which  is  controlled  in  this  country  by  the  makers  of  Sani-Flat,  and  is  the  only  lithopone 
pigment  known  which  will  not  change  color  on  exposure  to  sunlight. 

There  is  absolutely  no  rosin  in  the  composition  of  Sani-Flat. 

Paints  made  with  rosin  and  cheap  oils,  of  which  there  are  many,  may  dry  flat  and  look  well  at 
first,  but  such  a coating  is  not  safe  to  paint  over  as  it  becomes  very  hard  and  is  liable  to  crack  or 
craze,  necessitating  the  removal  of  the  old  paint  before  redecorating. 

I he  life  of  any  paint  is  measured  by  its  quality  and  percentage  of  binder.  Sam-Hat  contains 
a greater  maximum  amount  of  binder  than  any  other  flat  wall  paint  on  the  market,  making  it 
superior  to  all  others  in  durability. 


Page  Eight 


Benjamin  Moore  id  Co. 


Sam-Flat  is  especially  good  for  walls,  woodwork,  steel  ceilings,  and  all  other  interior  decorating 
and  painting  where  a durable,  flat  paint  is  needed. 

As  an  undercoating  for  enamel,  Sam-Flat  has  no  equal.  1 wo  coats  will  cover  as  well  as  three 
coats  of  white  lead.  It  makes  a smooth  even  surface  without  laps  or  brush-marks,  and  otters  an 
ideal  undercoating  for  any  and  all  enamel  work. 

Good  Paint  Should  Go  Far 

Sam-Flat  is  very  economical.  It  works  easily,  levels  and  Hows  freely  so  that  a painter  can 
cover  one-third  more  surface  with  it  than  with  any  other  article  of  its  kind.  Its  covering  qualities 
are  so  great  that  two  good  coats  are  sufficient  for  ordinary  work.  Unlike  other  similar  paints,  it 
does  not  precipitate  or  settle  hard  in  the  bottom  of  the  can,  but  can  be  stirred  up  quickly,  effecting 
a great  saving  of  time.  Sam-Flat  is  sold  at  a reasonble  price,  and  considering  its  advantages,  it 
is  without  doubt  the  most  economical  interior  Hat  oil  paint  yet  pioduced. 


Benjamin  Moore  & Co. 


Page  Nine 


Blue  Colonial  Bed  Room 


Here  is  a dainty  bed  room  in  Colonial  style,  which  would  be  especially  suitable  for  a woman's 
room.  The  walls  of  Pale  Blue  Sam-Mat,  White  or  Ivory  ceiling  with  White  Enamel  wood- 
work and  furniture.  If  more  contrast  is  desired,  mahogany  furniture  may  be  used  here — or  a 
brass  bed — which  is  possible  with  Blue  wall  treatment.  Blue  and  White  portieres  with  rugs  of 
Tan  and  Blue  further  carry  out  the  color  scheme. 


How  to  Obtain  the  Effect  as  Shown  on 
Plate  A 

Walls Pale  Blue  Sam-Flat 

Ceiling  and  Drop White  Sani-Flat 

Stencil  No.  2008  one  inch  below  picture  moulding  Delft  Blue  and  Sani-Elat 

Moulding  (Finish) White  and  Gold 

Woodwork  W hite  Enamel ....  Mooramel 

Moor  (If  Natural) Moore’s  Elastic  Moor  Finish 

Moor  (If  Painted) Moore's  Chestnut  Brown  Floor  Paint 


Plate  A 


Benja?nin  Moore  C Co. 


Benjamin  Moore  Co. 


Plate  A 


A Light  Gray  Bed  Room 


Soft  Grays  are  very  restful  in  sunny  or  well  lighted  chambers.  Light  Gray  Sam-Flat  is  ideal 
for  such  rooms.  It  is  especially  soft  and  pleasing  when  used  in  combination  with  Old  Rose  for 
the  frieze  and  Ivory  for  the  ceiling.  \\  oodwork  and  furniture  finished  in  the  darker  shades 
may  be  used  with  the  above,  also  Golden  Oak  or  White  Enamel  Furniture  with  the  woodwork 
of  the  same  finish.  I he  draperies  are  of  deeper  rose  with  rugs  in  Rose  and  Cream. 


How  to  Obtain  the  Effect  Shown  on 
Plate  If 


Walls 

Frieze 

Ceiling 

Woodwork  W hite  Enamel 

Floor  (If  Natural) 

Floor  (If  Painted) 


Light  Gray  Sani-Flat 
Old  Rose  Sam-Flat 
Ivory  Sani-Flat 
Mooramel 

Moore’s  Elastic  Floor  Varnish 
Moore’s  Light  Gray  Floor  Paint 


Plate  B 


Benjamin  Moore  & Co. 


Benjamin  Moore  13  Co. 


Plate  B 


A Cheerful  Bed  Room 


This  plan  of  decoration  for  the  room  with  northern  exposure  which  needs  brightening  up. 
Fhe  color  scheme  shown  on  this  plate  is  adapted  to  many  styles  of  rooms  and  in  all  cases  will 
prove  very  attractive.  It  will  be  noticed  that  the  picture  moulding,  which  is  a Russet  or  Dark 
Tan  touched  with  Gold,  is  placed  close  to  the  ceiling,  the  entire  wall  being  coated  with  Buff 
Sani-Flat  and  the  ceiling  with  Ivory.  The  placing  of  the  moulding  on  the  wall  is  a matter  of 
choice,  whether  eighteen  inches  down,  or  close  to  the  ceiling.  \\  hite  Enamel  woodwork  and 
furniture  would  be  attractive  with  these  wall  decorations,  but  almost  any  kind  of  wood  finish  or 
furniture  could  be  used.  1 he  curtains  of  Terra  Cotta  with  1 urkish  rugs  in  Terra  Cotta,  Cream 
and  Old  Blue  add  much  to  the  beautv  of  the  room. 


How  to  Obtain  the  Effect  Shown  on 
Plate  G 


Side  Walls 

Ceiling 

Moulding  (F  inish ) 

Woodwork  (If  Natural)  . . 
Woodwork  (If  Enamelled) 
Eloor  (Natural) 


Buff 

Ivory 

Russet  with  Gold 

Moore’s  Elastic  Interior  Finish 

Mooramel 

Moore’s  Elastic  Eloor  \ arnish 


Plate  C 


Benjamin  Moore  13  Co. 


Benjamin  Moore  Co. 


Plate  C 


Old  Rose  Bed  Room 


Every  house  has  one  or  more  rooms  which  do  not  get  much  sun.  A warm 
will  work  wonders  in  such  rooms.  Plate  D shows  one  finished  in  Old  Rose  Sa 
Ivory  ceding,  W hite  Enamel  woodwork,  and  Mahogany  furniture,  that  would 
to  the  eye  and  cheering  to  the  spirits.  1 he  Green  and  \\  hite  dainty  curtains 
and  White  of  the  rug  lend  a pleasing  note  of  contrast. 


How  to  Obtain  the  Effect  Shown  on 
Plate  I) 

Walls Old  Rose  Sam-flat 

Ceiling  and  Drop Ivory  Sani-Flat 

Moulding Ivory  and  Gold 

Woodwork  White  Enamel. . . . Mooramel 

Floor  (It  Natural) Moore’s  Elastic  Floor  Varnish 

Floor  (If  Painted)  Moore’s  Chestnut  Brown  floor  Paint 


bright  wall  tint 
ni-Flat  with  an 
be  very  restful 
with  the  Green 


Plate  D 


Benjamin  Moore  Co. 


o 


Benjamin  Moore  $5  Co, 


Plate  D 


Bed  Room  Finished  with  Fight  Green  Tints 


These  soft  Light  Green  Tints  are  always  pleasing  in  bed  room,  as  they  impart  a quiet,  restful 
feeling. 

I he  Pea  Green  Sam-Flat  shown  here  is  being  used  extensively  for  wall  decorations.  \\  hen 
m combination  with  Ivory  ceiling  and  \\  lute  Enamel  woodwork  and  furniture,  the  effect  is 
delightful.  The  portieres  of  plain  Old  Rose  with  the  same  Rose  tint  in  the  rug  add  to  the  cheer- 
fulness of  the  room. 


IIow  to  Obtain  the  Effect  Shown  on 
Plate  E 

Walls Pea  Green  Sani-Mat 

Ceiling  and  Drop Ivory  Sam-Flat 

Stencil  No.  1432 Rich  Green  Sam-Mat 

Moulding Gold 

Woodwork  White  Enamel.  . . . Mooramel 

Moor  (If  Natural) Moore’s  Elastic  Moor  Varnish 

Moor  (If  Painted) Moore's  Chestnut  Brown  Floor  Paint 


Plate  E 


Benjamin  Moore  & Co. 


W- 


Benjamin  Moore  y Co. 


Plate  E 


Simple  and  Attractive  Dining  Room 


Most  dining  rooms  are  simple  in  architectural  design,  and  yet,  if  care  is  exercised  in  the  choice 
of  decorations,  it  is  possible  to  make  them  very  attractive.  A particularly  good  effect  can  be 
produced  by  dividing  the  walls  with  plate-rails  and  moulding  which  gives  an  opportunity  for  two 
or  three  tone  work.  Plate  F shows  three  tones,  Olive,  below  the  plate-rail,  Russet  above,  with 
a Buff  ceiling,  and  Dark  Oak  moulding,  woodwork  and  furniture  being  Dark  Oak.  1 he  above 
color  scheme  makes  an  ideal  and  most  effective  dining  room.  1 he  portieres  and  floor  covering 
show  soft  Browns  and  Reds  with  a tinge  of  deep  Blue  and  offset  the  deep  tone  of  the  Olive  and 
lend  brightness  to  the  rooms. 


How  to  Obtain  the  Effect  Shown  on 
Plate  F 


Walls  (Below  Plate  Rail) 

Walls  (Above  Plate  Rail) 

Ceiling 

Moulding 

Stencil  two  inch  above  plate  rail 

b loor  (If  Natural) 

Floor  (If  Painted) 


. Olive  Sani-Flat 
Russet  Sani-b lat 
. Buff  Sani-b  lat 
. Dark  Oak 
. Olive  Green 

. Moore’s  Elastic  Floor  \ arnish 
. Moore’s  Chestnut  Brown  Floor  Paint 


Plate  F 


Benjamin  Moore  & Co 


Benjamin  Moore  13  Co, 


Plate  F 


Gray  and  Cream  Dining  Room 


I he  soft  tones  of  this  color  scheme  make  it  suitable  for  any  timing  room  whether  well  or 
poorly  lighted.  1 he  warm  Gray  Sani-Flat  combined  with  Cream  Sani-Flat  for  the  walls  and 
Ivory  Sani-Flat  for  ceiling  gives  the  room  an  air  of  cheerfulness,  and  harmony  that  will  appeal 
to  many. 

1 he  White  Enamel  of  the  woodwork  offers  a pleasing  contrast  to  the  floors  of  Quartered  Oak. 
Should  the  woodwork  he  new  or  unpainted,  they  can  he  finished  natural — and  produce  an  equally 
attractive  result.  1 he  Soft  Green  of  the  portieres,  further  reflected  in  the  rug  of  lan  and  Green, 
offers  a pleasing  contrast. 


How  to  Obtain  the  Effect  Shown  on 
Plate  G 


Walls  (Below  Plate  Rail). 
Walls  (Above  Plate  Rail). 

Ceiling 

Woodwork  White  Enamel 
Moulding  near  Ceiling.  . . . 
Floor 


Warm  Gray  Sani-Flat 

Cream  Sani-Flat 

Ivory  Sani-Flat 

Mooramel 

Ivory  Sani-Flat 

Moore’s  Elastic  Floor  Varnish 


Plate  G 


Benjamin  Moore  c5  Co. 


=2= 


Benjamin  Moore  y Co. 


Plate  G 


Artistic  Dining  Room 


In  this  color  scheme,  the  wainscoting  is  solid  panelled  work,  stained  walnut  to  match  the 
trim  and  ceiling  beams.  Wine  Color  Sam-Flat  is  used  to  the  plate  rail,  all  above  being  finished 
with  Buff  Sam-Flat.  The  picture  moulding  is  here  placed  near  the  ceiling.  Floors  are  of  Dark 
Oak.  Mahogany  furniture.  Should  the  wainscoting  be  plain  panelled  work,  the  wall  space 
inside  the  panel  could  be  finished  with  Wine  Color  Sam-Mat,  the  floors  finished  natural,  stained 
a Dark  Oak,  or  painted  Chestnut  Brown.  1 his  would  go  well  with  Dark  Oak,  Mahogany  or 
Walnut  furniture.  I he  curtains  are  of  Bull,  with  rug  of  Fan  or  Blue. 

How  to  Obtain  the  Effect  Shown  on 
Plate  H 

All  woodwork  including  Wainscoting Walnut  Stain 

Walls  (To  Plate  Rail) W ine  Color  Sani-Flat 

Ceiling  and  Drop Bufl  Sam-Flat 

Picture  Moulding  (Near  Ceiling) Walnut  Shade 

Floor  (If  Stained) Moore’s  Dark  Oak  Stain 

Floor  (If  Stained  or  Natural) Moore’s  Elastic  Floor  Varnish 

Floor  (If  Painted) Moore’s  Chestnut  Brown  Floor  Paint 


Plate  II 


Beniamin  Moore  C Co. 


Benjamin  Moore  Ejf  Co. 


Plate  II 


A Green  and  Gray  Tint  Dining  Room 

The  combination  of  Light  Green  and  Soft  Gray  has  always  been  popular.  Their  perfect 
harmony  imparts  a feeling  ot  rest  and  refinement  that  is  much  to  be  desired. 

Furthermore,  it  is  not  difficult  to  select  furnishings  that  go  well  with  them.  Here  the  por- 
tion below  the  plate  rail  is  finished  in  Elm  Green  Sam-Flat,  above  the  plate  rail  Warm  Gray,  and 
the  ceiling  Cream  Sani-Flat.  1 he  moulding,  which  is  placed  near  the  ceiling,  is  painted 
Elm  Green;  ceiling  beams,  floors  and  other  woodwork  are  Dark  Oak,  finished  natural.  The 
curtains  of  soft  Green  with  rugs  in  Green  and  Brown  complete  the  harmony. 

How  to  Obtain  the  Effect  Shown  on 
Plate  J 

Walls  (Below  the  Plate  Rail Elm  Green  Sani-Flat 

Walls  (Above  the  Plate  Rail) \\  arm  Gray  Sani-Flat 

Ceiling Cream  Sani-Flat 

Moulding Elm  Green  Sani-Flat 

Woodwork Moore’s  Elastic  Interior  Finish 

Floor Moore’s  Elastic  Floor  Varnish 


Plate  J 


Benjamin  Moore  fif  Co. 


Benjamin  Moore  & Co. 


Plate  J 


Library 


As  the  library  must  first  of  all  be  restful,  the  soft  Russets  and  Tans  are  perhaps  the  most 
desirable  tones  for  its  decoration.  1 his  combination  of  Russet  Sani-Flat  for  the  dado,  of  Tan 
on  the  wall,  and  an  Ivory  ceiling,  is  one  of  the  most  satisfactory. 

Russet  Sani-Flat  is  used  for  the  stencil  and  picture  moulding.  Woodwork,  including  ceil- 
ing beams  and  furniture,  are  Old  English  Oak,  finished  in  Mission  style,  but  other  finishes  would 
be  equally  satisfactory.  The  floor  is  Quartered  Oak,  finished  natural.  Draperies  and  rugs 
introduce  an  effective  color  note  in  their  mixed  1 an  and  Old  Blue. 

How  to  Obtain  the  Effect  Shown  on 
Plate  K 


Dado Russet  Sani-Flat 

Walls Ian  Sani-Hat 

Ceiling Ivory  Sani-Flat 

Stencil Russet  Sani-Hat 

Floor Moore’s  Elastic  Hoor  \ arnish 

Woodwork Moore’s  Dn-Dul  Flat  Varnish 


Plate  K 


Benjamin  Moore  & Co. 


Benjamin  Moore  & Co, 


Plate  K 


Library 


1 he  decorative  suggestion  shown  on  Plate  L makes  a particularly  attractive  library.  Rich 
harmonizing  colors  are  used,  not  only  on  walls  and  woodwork,  but  also  in  furniture,  rugs  and 
draperies;  a combination  which  imparts  a feeling  ot  luxury  and  refinement.  It  will  be  noted 
that  the  dado  is  Permanent  Red  Sam-flat,  the  wall,  Russet  Sam-flat,  and  the  ceiling,  Cream 
Sam-flat.  1 he  stencil  work  is  done  with  Permanent  Red  and  the  moulding  is  Gold  and  Perma- 
nent Red.  1 he  woodwork  and  furniture  are  Mahogany,  floors,  Dark  Oak.  The  draperies  in 
Tan  with  1 urkish  rugs  in  harmonizing  tones  of  Red  lend  a further  note  of  richness. 

How  to  Obtain  the  Effect  Shown  on 
Plate  I. 


Dado 

Walls 

Ceiling 

Stencilling 

Moulding 

Floor 

Woodwork  and  Furniture. 


Permanent  Red  Sani-Flat 

Russet  Sani-f  lat 

Cream  Sani-Flat 

Permanent  Red  Sani-Flat 

Permanent  Red  and  Gold  Sani-f  lat 

Moore’s  Elastic  floor  finish 

Moore’s  XX  Rubbing  and  Polishing  Varnish 


Plate  L 


Benjamin  Moore  L?  Co. 


Benjamin  Moore  iff  Co. 


Plate  L 


Gray  Library 


A very  charming  color  scheme  for  a library  is  in  graduations  of  gray.  \ he  blending  of  the 

French  Gray  dado,  Light  Soft  Gray  wall  and  Ivory  ceiling,  a stencil  of  French  Gray  and  Ivory 

moulding  proves  especially  delightful  in  sunny  rooms. 

The  woodwork,  floors  and  furniture  are  a medium  shade  of  Oak.  1 he  Wine  Red  in  draperies 

and  floor  covering  is  most  effective. 

How  to  Obtain  the  Effect  Shown  on 
Plate  M 


Dado French  Gray  Sani-Flat 

Walls Light  Gray  Sani-Flat 

Ceiling Ivory  Sani-hlat 

Stencil  Work French  Gray  Sani-Flat 

Moulding Ivory  Sani-Flat 

Floor Moore’s  Elastic  Floor  Varnish 

Woodwork Moore’s  Elastic  Interior  finish 


Plate  M 


Benjamin  Moore  & Co. 


Benjamin  Moore  & Co. 


Plate  M 


Library  in  Olive  Shades 


As  shown  here  the  use  of  two  or  three  different  shades  of  one  color  make  a most  pleasing 
scheme  of  decoration  for  a library. 

In  this  plan,  Olive  Green  for  the  dado,  Elm  Green  for  the  wall,  and  Apple  Green  for  the 
ceiling  would  be  delightful  in  a sunny  room.  1 he  Dark  Oak  woodwork,  and  furniture  and  rugs 
in  shades  of  Brown  or  Dark  Red  form  a pleasing  contrast.  1 he  Tobacco  Brown  in  the  draperies 
with  the  Oriental  rugs  of  similar  tones  are  excellent  here. 

How  to  Obtain  the  Effect  Shown  on 
Plate  N 


Dado Olive  Sani-Flat 

Walls Elm  Green  Sani-Flat 

Ceiling Apple  Green  Sam-Hat 

Moulding Olive  Sam-Flat 

Floor Moore’s  Elastic  floor  Varnish 

Woodwork Moore’s  Dri-Dul  Flat  Varnish 


Plate  N 


Benjamin  Moore  IP  Co. 


Benjamin  Moore  & Co. 


Plate  A' 


An  Inviting  Hall 


1 lie  Wine  Red  Sani-Flat  on  the  walls  of  this  hall,  and  Buff  ceiling  would  make  a warm,  invit- 
ing entrance  to  any  home.  1 his  color  plan  would  be  especially  good  in  a roomy  hall  where  there 
is  light  enough  to  offset  the  Dark  \\  me  tone.  The  Oak  furniture  and  woodwork  offer  the  needed 
contrast.  The  rugs  of  Tan,  Old  Blue  and  Green  with  soft  Green  portieres  are  very  soft  and  pleas- 
ing here. 

How  to  Obtain  the  Effect  Shown  on 
Plate  P 


Walls Wine  Sani-Flat 

Ceiling Buff  Sani-Flat 

Floor  (If  Natural) Elastic  Floor  Varnish 

Floor  (If  Painted) Moore’s  Chestnut  Brown  Floor  Paint 

Woodwork Moore’s  Elastic  Interior  Finish 


Plate  P 


Benjamin  Moore  & Co. 


Benjamin  Moore  Is  Co. 


Plate  P 


The  Colonial  Hall 


There  is  a charm  in  the  simplicity  of  the  Colonial  decoration  that  always  appeals — and  it 
can  he  utilized  wherever  the  architecture  of  the  hall  will  allow.  These  Rich  Green  walls,  with 
Apple  Green  ceiling,  lend  a delightfully  cool,  refreshing  atmosphere.  1 he  White  Enamel  wood- 
work and  stair  railing  are  supplemented  by  the  finishing  hand  rail  in  Mahogany  or  Walnut.  The 
old  style  rag  rugs  of  mixed  colors,  A lute,  Blue,  Black,  Red  and  Brown,  carry  out  the  Colonial 
effect.  Portieres  in  Green  offer  the  completing  note  to  the  color  scheme. 


How  to  Obtain  the  Effect  Shown  on 
Plate  R 


Walls 

Ceiling 

Woodwork  (Enamelled) 
Woodwork  (Natural) . . . 
Floor. 


Rich  Green  Sani-Elat 
Apple  Green  Sani-Flat 
M ooramel 

AI  oore’s  Elastic  Interior  Finish 
M oore’s  Elastic  Floor  Varnish 


Plate  R 


Benjamin  Moore  cjf  Co. 


Benjamin  Moore  £5?  Co. 


Plate  R 


A Paint  for  Every  Purpose 


The  exterior  of  the  house  needs  painting  every  so  often,  to  preserve  and  make  attractive.  For 
this  purpose  there  is  no  better  paint  than  Moore’s  House  Colors. 

For  cement  floors  of  cellars  and  garages,  use  the  only  reliable  MOORE’S  CEMENT  h LOOR 
PAINT.  It  hlls  the  pores  and  makes  a solid  gloss  surface  which  can  he  flushed  with  water,  insuring 
sanitary  conditions. 

Preserve  the  shingles  by  coating  with  MOORE'S  SHINGLE  S I AINS.  None  better. 

Paint  the  piazza  and  lawn  furniture  with  MOORE’S  \ ERANDA  FURNI  PURE  ENAMEL. 
It  d nes  hard  with  a rich  luster  and  is  not  affected  by  atmospheric  conditions. 

Make  your  furniture  look  like  new  by  touching  up  with  1ILE-LIKE  VARNISH  S I AIN 
which  will  not  show  scratches  or  be  affected  by  water. 

MOORE’S  FLOOR  PAINT  cannot  be  excelled  as  a floor-coating;  dries  over  night. 

Only  the  best  quality  of  paint  should  be  used  on  piazza  floors.  MOORE’S  ENAMEL  FLOOR 
AND  DECK  is  made  to  resist  successfully  the  weather  conditions  and  constant  wear. 

It  information  is  desired  on  anything  pertaining  to  decoration,  painting,  varnishing  or  enamel- 
ing, do  not  hesitate  to  write,  as  we  shall  esteem  it  a privilege  to  answer  such  inquiries. 


BENJAMIN  MOORE  & CO. 


NEW  YORK 


CHICAGO 


CLEVELAND 


TORONTO 


BENJAMIN  MOORE  & CO. 

331-233  FRONT  STREET  BROOKLYN,  N.  Y. 

CHICAGO,  ILLINOIS  CLEVELAND,  OHIO 

401-409  North  Green  Street  ' 1322  Marquette  Road 

BENJAMIN  MOORE  & CO.,  Ltd. 

Cawthra  Avenue  and  Lloyd  Street,  Toronto,  Canada 


GOULD  & CUTLER 

New  England  Agents  Boston,  Mass. 


